To be clear on what you are looking for:
Running "noodle poodle.pbm" would open and load the file "poodle.pbm" if it exists, then will export to that filename as well.
It's a bit trickier to do well because of the parsing, but I think I could maybe hack something together sometime this week?
@neauoire okie dokie. pushed some starter code. wasn't sure how you wanted to handle naming, so I just had it write to "out.pbm".
That's fine too. I'll try not to break anything ;)
Sure! Gives me a good excuse to learn git sendmail.
mmm yeah, that's the stuff: https://www.sweetwater.com/store/detail/PTHDX28x8--avid-pro-tools-hdx2-and-hd-i-o-8x8x8
and that hardware *only* works with Pro-Tools.
@hecanjog @celesteh ProTools gets *very* expensive when you want to buy their dedicated special pro studio hardware. At least, it used to be that way. No clue what it's like now, or if AVID is even still doing that. Apparently the interfaces I used to have access to at school recording studios cost 10k USD a piece.
A 1-bit pixel art version of this would be neat: https://icons.mono.company/
Wish I knew how to pronounce that. Seems useful.
@hecanjog this would go nice with some of my 1-bit graphics projects.
Kudos for taking the time to make the perfect sound for yourself :)
I certainly can hear what you mean by "harsh, but not too harsh". Sometimes, sounds really do need to bite to get our attention. I could see myself getting adjusted to it, depending on how loud it was playing.
FM synthesis can produce sparse spectrums, especially when you starting using higher C:M ratios like you hear in vintage DX7 piano tine sounds. This was part of what made these instruments so popular in studios: the unique wide spacing of the harmonics made it easily cut through a mix without muddying it.
I wanted the perfect sweet spot between attack harsh enough to call my attention, but not as harsh as the other options I’ve been seeing. I designed it with hexter and audacity. It’s def not a soft smooth bell, it’s more of a digital beepy tone—I didn’t want it confusable with other sounds.
I have a sourced shell function called
beep that pauses
mpd and then plays this with
gst123. So if I’m listening to music, the music also stops. I can do
blablabla && yaddayadda && beep
Not saying my harsh beep would be mellow enough for you, but just to inspire you that it can be worth going the extra mile and designing a sound that does exactly what you want.
@kensanata fascinating. If you ever remember the podcast episode, let me know.
alert sounds are fascinating microcosms.
SPEAKING of orchestras. let's talk about that orchestral soup submerging our friendly neighborhood klaxon.
it all sounds suspended in uncertainty waiting for the next thing to happen, which amplifies what all the characters are feeling. You get the sense that an orchestra is quietly tuning up. The tonality is kind of garbled up.
And then BAM the ship drops a nice major third on us, blending in with the soundscape in all the wrong ways. The friendliness of the entrance is unsettling, uneasy, and unexpected. Again, this lines up perfectly with the scene.
Gonna re-emphasize that orca is super cool and any nerds interested in music production should start messing around with it ASAP
It's the nicest sounding synthetic chime you've ever heard. It's got a very gentle attack so there aren't any surprises. Never underestimate the effect adding 10ms to an attack envelope will do. This alert sound is uncharacteristically low too, so that gives our ears a break.
It's clearly a simple waveform of some sort. Maybe a pulse or triangle? A lowpass filter has definitely shaved off the high frequencies. It's smooth as butter.
In reality, I don't know how well this would actually work as an alert sound. Acoustically speaking this could easily get drowned out by other things, which defeats the purpose of an alert. A good alarm needs to cut through the mix, like how a single piccolo or triangle can stand out in an orchestra.
Sound, music, computers, etc.
Human being, being human.
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